I work with the medium of glass, and I am excited about combining digital production technology with traditional glassmaking processes.I love working with waterjet cutting use the process to combine the intricately cut glass pieces to create artworks. I have recently invested in a small waterjet for my studio practice.
Norwegian born glass practitioner Margareth Troli works with the medium of glass, combining digital production and traditional making processes. Margareth has completed a Phd in Waterjet Cutting technology and glass (2011) at the University of Sunderland.She was based at a studio in the NGC, (National Glass Centre)until 2015 before relocating to her native North Norwegian valley Beiarn, just north of the arctic circle.Working with the medium for 27 years, her skill-base is broad ranging, in terms of production methods and application. It ranges across kiln-forming and hotglass processes.She has received numerous prizes, awards and scholarships for her artwork and has participated in several international exhibitions and design fairs, such SOFA New York, the British Glass Biennale (UK,) 100% Design, (UK), Designers Block, (UK), Coburger Glass Prize Exhibition, (DE) Her artworks can be found in private and public collections such as the Glass Museum Lette, Die Ernstign Stiftung Alter Hof Herding, Germany and former Broadfield House Glass Museum, UK now the Red House Glass Cone .
What craft do you work with?
I came to work with glass, through deciding to take a study year abroad to try art. At the time I thought that glassmaking was all about glassblowing. Little did I know about the range of possible techniques. One year lead to a full BA Honours degree at The Surrey Institute of Art of Design, which in turn led to a Masters in Glass and PhD at the University of Sunderland, followed by running my studio practice at the National Glass Centre. My current favourite technique is using waterjet cut elements of glass and combine it fused glass to create a range of artworks. I have recently invested in a small waterjet for my studio practice, which will hopefully help me carry on my research from home. The fascination of the material qualities is what draws me to work with the material. Reflection, refraction, the transmission of light and shadows! Its fragility yet rigidity! The vast range of techniques and processes one can use to make art! Having learned many technical aspects of traditional glass making from hot-shop to cold-shop , I am passionate.
What inspires you to work with this craft?
Working as a material based practitioner , my ultimate passion is Glass. I am excited and passionate about innovation, research and how technology can be incorporated into traditional craft practice. I have worked with glass for more than 25 years. Crafts matter, as does the whole creative industry! Without it we would have nothing around us. Every object we use and are surrounded with are designed and made by someone. It is important to carry on recruiting new makers, so skills do not get lost. However, I believe that combining digital technology with traditional making processes brings the ancient crafts into the 21st century, and for that reason it can spur on newfound interest in the subject field.
How do you start your creative process?
My creative process is usually rooted in technical exploration or a conceptual query. I usually start with photo-gathering and free hand drawings to to brainstorm and to help my idea-developing process. From there , i might develop a clear idea of the shape I want to form. If this is something I would like to cut for-instance, I make a digital drawing in a CAD program, and cut out a test-piece, sometimes in plywood, to save on the expensive glass material.
How would you best describe your workspace and what tools could you not do without?
My workspace is currently a small 40m2 studio adjacent to my house. I have a couple of larger kilns in a separate building with 3 phase electricity. I would love for a massive studio where all my equipment fits in.
Are there new techniques you would like to try?
I would love to incorporate 3D printing technology into my practice as well. I have recently taken some silversmithing classes, and would love to combine that with glassmaking too.
What other types of craft do you dream of collaborating with?
I would love to collaborate with other likeminded practitioners, and invite them to work together in my future dream-studio. I would love for artists and makers from all over the world to come work with me. I would also love expand working on public art directly with architects as previously, as I find it very exciting and rewarding.
What professional dream do you have?
My professional dream is to establish a center for glass art and architecture in my small valley.
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